This document discusses digital sound, including sampled and synthesized sound. It provides details on: - How sampled sound works by digitally recording analog sound waves, with quality depending on sample resolution and rate. - How synthesized sound uses MIDI to send commands to synthesizers to generate new sounds. - The advantages of digital sound over analog, such as noise reduction, editing capabilities, and ease of distribution. - Guidelines for using sound in multimedia, such as identifying its purpose, using high quality sound, and avoiding excessive use.

1. CHAPTER SEVEN
SOUND

2. CHAPTER HIGHLIGHTS
• Nature of sound
– Sine waves, amplitude, frequency
• Traditional sound reproduction
• Digital sound
– Sampled
– Synthesized
• Advantages of digital sound
• Guidelines for digital sound in multimedia.
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3. NATURE OF SOUND
• Sound is a form of mechanical energy transmitted
as vibrations in a medium.
• Sine wave captures three features of sound:
– Amplitude
• Perceived as volume.
– Frequency
• Perceived as pitch.
– Duration
• Length of time sound lasts.
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4. TRADITIONAL SOUND
REPRODUCTION
• Analog sound capture.
• Sound waves vibrated diaphragms of early
microphones.
• Vibration caused a stylus to inscribe a continuous
pattern on tinfoil or on a wax cylinder.
• Reproduce the analog sound.
• Rotate a drum while in contact with a stylus
• Movements of stylus are electrically amplified to
vibrate the drum of a speaker
• Changes in air pressure produced the sound.
• High-fidelity analog sound is still the final
output stage for digital audio.
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5. DIGITAL SOUND
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REPRESENTED AS DISCRETE
ELEMENTS OF INFORMATION

6. DIGITAL SOUND
• Two major types of digital sound:
– Sampled sound: digital recording of previously existing
analog sound wave.
• File contains numeric values to describe the amplitude of the
sound wave at a particular instant.
• Used to capture and edit naturally-occurring sounds.
– Synthesized sound: new sound generated by the
computer.
• File contains instructions the computer uses to reproduce the
sound.
• Used to:
– Create original compositions
– Produce novel sound effects.
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7. SAMPLED SOUND
• Analog to Digital Converter captures separate
measures of sound amplitude.
– Samples are recorded as digital numbers.
• Digital values are used to recreate the analog
form using a Digital to Analog Converter.
• Quality of the sampling depends on:
– Sample resolution
– Sample rate.
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8. SAMPLE RESOLUTION
• Number of bits to encode amplitude.
– Sample resolutions range from 8-bit to 24-bit.
• 8-bit resolution captures 256 different
amplitude levels.
– Adequate for limited decibel range.
• 16-bit CD quality sound has 65,000 different
levels.
• 24-bit DVD audio can generate over 16 million
different levels.
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9. SAMPLED SOUND DISTORTIONS
• Quantization: rounding a sample to the closest
available value in the code being used.
– May produce background hissing or grainy sound.
– Caused by low sample resolution
– Solution: record at higher resolution
• Use 16-bit rather than 8-bit to increase the range of
amplitudes.
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10. SAMPLED SOUND DISTORTIONS
• Clipping: wave amplitude exceeds available sample
values.
– Causes:
• Recording equipment isn't designed for selected decibel range
or
• Mixing tracks with amplitudes that exceed the available range.
– Result is harsh, distorted sound.
– Solutions:
• Lower amplitude of source sound within the limits of the ADC
circuitry.
• Adjust volume of mixed tracks or use higher sample resolution.
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11. SAMPLE RATE
• Number of samples taken in a fixed interval of
time.
– Stated in thousands of Hertz, or kilohertz.
– Determines the range of frequencies that can be
represented in a digital recording.
• Two measurements capture each cycle of the
sound wave:
• High value or peak
• Low value or trough.
– CD-quality sound captures 44.1kHz
to record frequencies as high as 22.05kHz.
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Highest
frequency
the human
ear can
detect is
20kHz.

12. SAMPLE RATE DISTORTION
• Aliasing: false representation of high frequencies
as low frequencies.
– Occurs when source frequency is greater
than one-half the sample rate being used.
– Solutions:
• Apply filters to source sound to eliminate frequencies above
the sample rate.
• Oversample the source sound:
– Use digital filters to eliminate
the high frequencies.
– Then downsample to reduce
the sample rate in the audio file.
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13. SOUND FILE SIZE
• Sound files are large.
– 60 seconds of stereo CD quality sound = 10 MB.
• Reduce file size and maintain quality:
– Select sample rate and resolution to match the sound
type.
• Human speech can accurately be captured at 11.025kHz with
8-bit resolution and have a smaller file.
– Lower sample rate and resolution to reduce file size.
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Stereo file size = sample rate * sample size (in bytes) * sample time (in seconds) * 2 (stereo)

14. SOUND COMPRESSION
• Compression is best strategy to lower file size
for sounds with wide range of frequencies and
amplitudes.
• Lossy codecs use various techniques to reduce
sound file sizes.
– Psychoacoustics: eliminates frequencies
indistinguishable to the human ear.
– Variable bitrate encoding (VBR): alters the number
of bits to encode the sample depending on the
complexity of the sound.
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15. SAMPLED SOUND FILE FORMATS
• AIFF: Apple Computer
– Uncompressed, high quality sound.
• WAV: Microsoft and IBM standard
– Uncompressed, high quality sound.
• AU: Sun Microsystems
– Internet transmission of lower quality sound files.
• RealAudio: Real Media
– Streaming audio at low bandwidths.
• MP3: (MPEG-1, audio layer 3)
– Significant compression of high quality sound.
• WMA: Windows Media Audio
– Delivers lossy compression comparable to MP3 at lower bitrates.
• AAC: Advanced Audio Coding
– Successor to MP3 specified in the MPEG-4 standard.
– Produces better quality sound than MP3 standard at comparable bitrates.
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16. SYNTHESIZED SOUND
• Computer sends commands to specialized
electronic device called a synthesizer.
• MIDI (Musical Instrument Digital Interface).
– Most common standard to code commands for
synthesizers.
– Codes provided for:
• Specific instruments
• Notes
• Force and duration of note
• Routing commands to different instrument channels
• Specialized control functions.
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17. MIDI
• Messages (or commands) can be sent to any
one of 16 channels.
– Voices or instruments are assigned to a channel.
– Multitimbral systems can play multiple
instruments by simultaneously processing
commands in different channels.
– Polyphonic systems play more than one note at
once.
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18. MIDI SOUND SYSTEM
• Simplest system contains:
– Digital musical instrument to create messages
– Sound synthesizer to interpret the messages
– Amplifier/speaker output system.
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19. MIDI SOUND SYSTEM
• Sequencer
– Device to control the flow or sequencing of the
MIDI data to a multitimbral synthesizer.
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20. MIDI ON A COMPUTER
• Software and hardware emulate the MIDI sound
system.
• Hardware
– Soundcards include synthesizers.
– Interface ports for MIDI-input devices.
• Software
– Sequencer software
can place notes on a musical scale.
– Editing includes changing pitch,
tempo, duration and volume of notes,
arrangement and timing of instruments.
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21. SAMPLED vs. SYNTHESIZED
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Advantages Sampled Advantages Synthesized
1. High quality. 1. Exceptional editing control.
2. Ease of creation. 2. Small file size.
3. Ease of editing.
4. Consistent playback quality.
Challenges Sampled Challenges Synthesized
1. Large file sizes. 1. Musical expertise required.
2. Editing limitations. 2. Playback quality is not
consistent.
3. Not effective for natural sounds
and human voice.

22. ADVANTAGES OF DIGITAL SOUND
• Noise reduction
• Recording accuracy
• No generation decay
• Durability
• Random access
• Editing is easier and less expensive
• Easily distributed by:
– CDs
– Networks.
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23. SOUND and the INTERNET
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INCREASED BANDWIDTH + STANDARD
FILE FORMATS + SIMPLIFIED USER
ACCESS = SOUND ON THE WEB.

24. DELIVERING DIGITAL SOUNDS
• Downloaded audio transfers the complete audio file
from the server to the client.
– File remains on client computer for replay and editing.
• Progressive downloads: file is saved to client computer,
but begins to play from RAM as it is downloading.
• Streaming audio: real-time sound that is played as it is
being delivered. Not saved on client computer.
– Requires special protocols, special servers, special media
formats and players.
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25. GUIDELINES FOR USE OF SOUND
• Identify the purpose of the sound and use it
for good reasons.
• Use high-quality sound.
• Conserve file space.
• Consider playback environment.
• Avoid excessive use of sound.
• Organize sound files and preserve original
sources.
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26. WRAP UP
• Two approaches to creating digital sound.
• Sampled sound depends on:
– Sample resolution and Sample rate.
– Distortions degrade sampled sound.
• Synthesized sound depends on:
– Synthesizer and Musical knowledge.
– Distortions come from poor sound output hardware.
• Advantages and challenges of each.
• Advantages and guidelines for digital sound.
• Distributing sound on the Internet. 26

27. KEY TERM CHECK UP
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